Fourth  Series,  No.  7 


December  7,  1912 


Suilrtttt 


Schools  of  the  Art   Industries 

A  Plea  for  a  New  Type  of  School  in  the 
Public  School  System 


By  FREDERICK  H.  SYKES,  PH.D. 

PROFESSOR  OF  ENGLISH  AND  DIRECTOR  OF   PRACTICAL   ARTS,  TEACHERS  COLLEGE, 
COLUMBIA   UNIVERSITY 


Technical  Education  Bulletin,  No.  16 
PRICE,  5  CENTS 


Published  by 

Geacbcrs  College,  Columbia  "{University 

515  WEST  i  loth  STREET 
NEW  YORK  CITY 


lulklitt 

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SCHOOLS  OF  THE  ART  INDUSTRIES 

A  PLEA  FOR  A  NEW  TYPE  OF  SCHOOL  IN  THE  PUBLIC  SCHOOL 

SYSTEM* 

FREDERICK  H.  SYKES,  Ph.D. 

Go  through  the  main  street  of  an  average  American  town  and 
you  have  the  measure  of  the  average  taste.  The  tawdriness  of  the 
signs,  the  disorder  of  the  shop  display,  the  pretentious  and  perverse 
decorations  of  the  saloons,  the  discords  of  muddy  paints,  the  dirt 
and  refuse  of  the  street,  show  us  that  some  vital  element  is  lacking 
in  our  civilization.  Go  through  the  living  quarters  of  the  average 
commercial  city,  the  streets  of  dismal  monotony,  or  enter  its 
dwellings;  consider  the  furniture,  wall-paper,  carpets,  cushions, 
crayon  portraits,  and  ask  if  there  is  a  glimmer  of  the  beauty  of 
workmanship  left  for  the  atrophied  soul  of  the  average  man  or 
woman.  "We  have,"  said  William  Morris,  ' 'practically  killed  the 
beautiful  in  the  nineteenth  century.  Railroads  are  ugly.  Streets 
are  ugly.  Clothes  are  ugly.  Houses  are  ugly.  Capitalism  has 
plunged  us  into  a  mass  of  ugliness  out  of  which  there  seems  no 
escape."  If  this  were  external  merely  we  might  stand  it,  but  it 
strikes  in,  and  inner  ugliness,  unrest  and  doubt,  numb  and  sadden 
and  brutalize  the  average  world  about  us.  Something  vital  is  lack- 
ing to  our  life. 

Contrast  with  this  the  following  picture  of  life  in  the  Italian 
Renaissance.  "Nothing  notable,"  says  Symonds,  "was  produced 
in  Italy  between  the  thirteenth  and  the  seventeenth  centuries  that 
did  not  bear  the  stamp  and  character  of  fine  art.  .  .  .  On  the 
meanest  articles  of  domestic  utility,  cups  and  platters,  door-panels 
and  chimney-pieces,  coverlets  for  beds  and  lids  for  linen-chests,  a 
wealth  of  artistic  invention  was  lavished  by  innumerable  craftsmen, 
no  less  skilled  in  technical  details  than  distinguished  by  real 
taste.  .  .  .  The  entire  nation  seems  to  have  been  endowed 
with  an  instinct  for  the  beautiful,  and  with  the  capacity  for  pro- 
ducing it  in  every  conceivable  form." 

Look  on  this  picture  and  on  that.  Under  the  present  indus- 
trial system  we  have  changed  Hyperion  to  a  satyr. 

*Reprinted  from  the  Proceedings  of, the  Eastern  Art  and  Manual 
Training  Association,  Baltimore,  1912. 


360875 


4  TECHNICAL  EDUCATION  BULLETIN 

What  is  the  matter  with  our  state? 

In  the  end  of  the  eighteenth  century  industry  engendered  the 
crude  powerful  monster  known  as  the  factory.  The  factory  sub- 
stituted for  poor  human  and  animal  sinews  the  irresistible  power 
of  steam ;  it  forged  the  crude  movements  of  human  fingers  in  iron 
and  steel,  and  set  up,  in  countless  thousands,  mechanical  workers 
driven  at  terrific  speed.  The  monster  had  an  appetite  and  a  pro- 
ductive power  that  left  the  old-time  hand-worker  isolated  and 
starving.  Tie  the  steam  engine  to  boat  and  cart  and  carriage  for 
modern  transportation,  segregate  the  factories  in  strategic  centres, 
and  you  have  the  modern  industrial  system,  which  has  worked 
wonders  beyond  the  dreams  of  Prometheus  and  Vulcan,  of  Ariel 
or  Prospero.  The  Industrial  Revolution  came,  and  it  is  here  to 
stay. 

Now  the  industrial  revolution  has  forged  ahead — far  ahead — 
of  our  organized  social  life  and  our  organized  education.  We 
have  not  yet  adjusted  life  to  the  new  era.  We  suffer  from  mal- 
formation, malnutrition  of  vital  organs  needed  for  full  living. 

What  are  we  going  to  do  about  it  ?  Are  we  going  to  sit  still 
and  enjoy  Perry  prints  of  the  Renaissance?  This  is  the  attitude 
of  the  dilettante  and  the  decadent.  Or  are  we  going  to  face  our 
problem  ?  Face  the  crude  monster  of  industry  and  tame  and  civil- 
ize Caliban  to  finer  works  of  service?  Can  we  bring  a  fresh  ad- 
justment of  life  to  the  new  industrial  conditions?  As  art  workers 
there  is  for  you,  I  believe,  here  and  now,  a  mission  and  a  pro- 
gramme that  call  for  all  you  have  of  courage  and  conviction — to 
bring  back  beauty — "the  religion  of  joy,"  as  Keats  called  it,  to  the 
worker  and  to  daily  life. 

Europe  succumbed  to  the  industrial  revolution  in  spite  of  the 
tremendous  defence  of  traditions  of  art  and  art  objects  everywhere. 
But  Europe  reacted  quickly.  Within  fifty  years  from  the  setting 
up  of  the  first  factory  in  England  Ruskin  appeared  as  the  disciple 
of  reaction.  Ruskin  called  out  William  Morris,  and  Morris  be- 
came the  source  and  fount  of  the  Arts  and  Crafts  movement  in 
Great  Britain,  Germany  and  America.  The  Crystal  Palace  Exhi- 
bition of  1851  marked  the  completion  of  the  Industrial  Revolution, 
and  it  marked,  as  we  see  now,  the  change  in  the  epoch,  the  begin- 
ning of  the  amelioration  of  conditions.  In  1852  the  South  Ken- 
sington Museum  was  established,  and  the  Museum  School  for  Art 


SCHOOLS   OF   THE  ART   INDUSTRIES  5 

Training.    Then  the  way  was  broken,  the  path  pointed  for  all  we 
have  done  since. 

iThe  way  of  salvation  lies  through  the  schools.  It  does  not  lie 
in  the  trades.  The  traditions  of  art  used  to  be  preserved  in  the  old 
industrial  system ;  they  were  handed  down  from  master  to  appren- 
tice and  journeyman,  as  the  faith  delivered  to  the  apostles.  A 
"masterpiece"  once  meant,  you  remember,  the  piece  that  made  a 
journeyman  a  master, — the  lovely  lantern  or  scroll  in  iron,  the  cab- 
inet or  chest  in  wood,  the  blazoned  shield  in  stone — that  was  his 
examination  paper  and  thesis.  That  indeed  is  the  only  kind  of  ex- 
amination paper  you  should  ever  accept  in  the  subjects  you  profess. 

But  the  hand  industries  were  engulfed  by  the  machine  mon- 
ster, and  the  old  system  as  a  teaching  system,  with  slight  excep- 
tions, has  disappeared,  lingering  on  only  in  callings  that  could  not 
be  mechanized.  The  hand  industries  of  the  home  with  their  tra- 
ditions became  likewise  extinct.  The  objects  of  daily  use,  factory- 
made,  lost  the  touch  and  line  and  color  of  art.  And  where  once 
art  gave  charm  and  joy,  you  find  now  only  the  products  of  our  pro- 
lific and  industrious  friend  Caliban. 

Europe  reacted  quickly.  It  turned  for  salvation,  not  to  the 
trades,  but  to  the  schools.  This  was  evolution.  In  the  complex 
development  of  a  modern  nation,  specialization  is  inevitable  and 
necessary.  We  see  now  clearly  that  it  is  the  business  of  trade  to 
produce,  not  to  educate ;  it  is  the  business  of  the  school  to  educate, 
not  to  produce.  The  example  of  Great  Britain  begun  in  South 
Kensington  was  followed  by  other  countries.  In  Germany,  chiefly 
since  1871,  the  development  of  the  School  of  the  Art  Industries, 
the  Kunstgewerbeschule,  has  been  immense,  significant  and  result- 
ful.  In  Italy  the  new  education  is  turning  the  abandoned  fort- 
resses and  vacant  palaces  of  the  past  into  art-industrial  schools 
and  museums. 

The  profession  of  these  European  schools,  whatever  their 
type,  whether  monotechnical  or  polytechnical,  whether  open  by  day 
or  night  or  Sunday,  is  to  train  technical  artists ;  to  preserve  the  art 
handicrafts  where  still  "the  touch  of  the  hand  is  everything,"  but 
also  to  master  the  machine  and  make  it  serve  the  spirit  of  life  and 
joy.  To-day,  we  may  say,  Europe,  through  its  art-industrial 
schools,  furnishes  its  most  important  branches  of  industry  with  the 
technically  trained  artists  needed.  Putting  it  differently,  the  public 


O  TECHNICAL  EDUCATION  BULLETIN 

systems  of  education  of  Europe  train  students  to  be  practical  craft- 
masters  in  the  art  industries :  in  the  textile  industries  as  designers, 
lacemakers,  costume  delineators ;  in  the  graphic  arts  as  designers, 
decorators,  painters,  illustrators,  engravers,  lithographers,  etchers, 
color  printers,  photographers,  bookbinders ;  in  the  plastic  arts  as 
designers,  moulders,  sculptors,  stone-carvers,  decorative  tile- 
makers  ;  in  the  wood  industries  as  designers,  cabinet-makers,  wood- 
carvers  ;  in  the  earth  product  industries  as  designers,  potters,  work- 
ers in  stained  glass  and  enamel ;  in  the  metal  industries  as  craft- 
workers  in  hammered  and  forged  metal,  silversmiths;  in  the 
building  and  furnishing  arts  as  interior  designers  and  decorators. 
Infinite  variety  of  callings,  infinite  variety  of  schools  and  courses — 
springs  of  vast  fresh  streams  of  vivifying  power  entering  into 
industry  and  into  life,  making  manifest  that  "religion  of  joy"  of 
which  you  art  teachers  and  craft  teachers  are  ministers ! 

Europe  has  all  types  and  methods  and  specializations  of  the 
art-industrial  schools  for  all  ages  and  classes  of  workers.  Italy, 
for  example,  has  over  two  hundred  art-industrial  schools,  of  which 
seven  in  the  large  cities  are  higher  schools.  In  Rome  you  may  see 
the  institutional  type;  the  old  foundation  known  as  the  Istituto 
de  San  Michele,  with  its  150  old  men,  150  old  women,  150  boys, 
150  girls.  For  the  young  it  is  a  school  in  which  various  master 
workmen  are  given  space  for  their  shops,  on  condition  of  taking  in 
children  as  pupils.  Men  are  doing  there  as  good  wood-carving  as 
is  done  in  Rome ;  there  they  are  doing  wonderful  fresh  experimen- 
tal work  in  printing  and  photo-engraving ;  there  they  designed  and 
cast  the  gigantic  statue  of  Victor  Emmanuel  II  recently  unveiled  in 
the  proudest  place  in  the  city  of  Rome.  Go  to  the  Museo  Artistico 
Industriale  and  you  have  another  type — not  a  museum  merely, 
though  they  have  splendid  rooms  for  textile  and  clay  exhibits,  na- 
tional and  royal  gifts,  and  20,000  photographs ;  it  is  a  night  school 
only — three  hours  a  night,  six  nights  a  week,  free  to  all,  in  three- 
year  courses. 

In  Milan  they  have  turned  the  Castello  of  the  Sforzas  into  a 
Museum  and  Art  Industrial  School.  It  is  free  for  all,  men  and 
women,  on  proof  of  ability ;  it  works  nights  and  Sundays  on  mod- 
ern lines  of  teaching.  If  it  is  plastic  art,  the  whole  project  is  done 
in  a  small  sketch  in  clay,  a  detail  is  done  in  natural  size,  the  work 
being  marvellously  strong  and  professional.  Five  hundred  stu- 


SCHOOLS    OF    THE   ART    INDUSTRIES  7 

dents,  busy  in  the  day  in  this  Manchester  of  Italy,  attend  this  school 
at  free  hours — workers  in  cabinet  making,  in  bronze,  silver,  en- 
gravers, decorators,  stucco  and  marble  workers,  designers  of  pot- 
tery and  textiles. 

Go  to  Switzerland  and  visit  the  Landesmuseum  and  the 
Kunstgewerbeschule,  in  Zurich,  superb  in  architecture — massive, 
distinctive  and  national.  One  entrance  takes  you  into  the  Museum 
and  you  wander  through  rooms  that  reproduce  or  preserve  the  best 
art  of  the  past ;  so  arranged  that  each  room  represents  a  period  of 
a  national  style.  Another  door  takes  you  into  the  School  of  the 
Art  Industries,  where  with  the  best  equipment  and  the  best  art  in- 
struction, they  teach  printing  and  photography,  glass  staining  and 
enamel,  wood-working  and  the  plastic  arts. 

Germany  still  sets  the  example  and  standard  in  art-industrial 
education.  In  Berlin  they  put  up  in  1905  an  art-industrial  school 
that  is  a  White  Palace — spacious  halls,  corridors,  workshops.  This 
school,  like  St.  Michael's  Institute  of  Rome,  is  characterized  by  its 
master  workshops.  The  master  craftsman  is  a  salaried  officer  of 
the  school,  and  has  two  or  three  rooms  for  his  business;  he  pro- 
vides at  his  own  expense  helpers  and  materials,  but  he  must  take 
five  or  six  pupils  from  the  school  and  teach  them  his  craft.  The 
sculptor  in  that  school  is  one  of  the  foremost  of  German  artists ; 
the  woodcarver,  when  I  saw  him,  was  carrying  out  a  royal  order 
for  the  interior  woodwork  and  furniture  for  a  new  palace  of  the 
Kaiser.  Thus  there  was  a  sense  of  reality,  of  scope,  of  standard. 
There  is  no  conflict  with  the  unions,  since  all  work  is  done  from 
original  designs;  the  school  trains  technical  artists,  not  artisans. 
Built  in  1905,  the  school  is  already  too  small  for  its  function  and 
service,  and  is  being  enlarged. 

The  School  of  Graphic  Arts  and  the  Book  Trade  is  the 
achievement  of  Leipsic,  the  chief  centre  of  the  book  trade  of  the 
world.  Every  art  and  every  science  that  make  for  the  production 
of  printed  paper  find  a  place  in  this  specialized  college  or,  as  they 
call  it,  Royal  Academy.  They  disdain  no  style  of  work — from  the 
picture  postcard  or  the  decorative  lining  of  a  cigar-box  to  the  finest 
poster  or  the  most  difficult  color  print ;  they  neglect  no  type  of 
work — plain  book  printing,  decorative  design  for  letters  and  bor- 
ders, illustration  whether  by  linoleum,  or  wood  or  stone  or  etching 
or  photo-processes,  die-cutting  and  embossing  and  bookbinding. 


8  TECHNICAL  EDUCATION  BULLETIN 

Compared  with  their  equipment  and  scope  and  efficiency,  our  work 
in  America  in  similar  lines  is  only  a  kindergarten. 

The  teaching  in  photography  in  the  city  of  Munich  has  devel- 
oped since  1898  through  the  efforts  of  the  South  German  Photog- 
raphers Union,  till  in  1911  they  founded  a  state  school  in  special 
and  spacious  quarters  with  90  rooms — studios,  laboratories,  lecture 
rooms — where  the  entire  art  and  science  of  photography  and  its 
applications  to  industries  are  taught  and  experimentally  in- 
vestigated. 

In  1902,  the  last  year  for  which  I  have  full  data,  there  were 
25  art-industrial  schools  of  the  first  rank  in  Germany,  one  for  every 
leading  city,  maintained  at  public  expense,  having  in  day  and  even- 
ing classes  14,430  pupils.  They  have  not  merely  the  schools,  they 
have  the  necessary  correlative  of  the  schools,  the  Museums  of  the 
Art  Industries. 

The  art  spirit  at  present  in  America  is  like  Arnold's  angel, 
"beating  in  the  void  his  luminous  wings  in  vain."  We  offer  in  no 
city  that  I  know  of  in  the  United  States  such  art-industrial  educa- 
tion as  is  given  in  every  city  of  the  first  class  in  Europe.  We  have 
been  contented  with  our  subsidiary  art  work  in  the  regular  school 
curriculum  or  we  have  left  the  whole  matter  to  private  initiative. 
Under  private  initiative  good  institutions  are  growing  up,  but  the 
fees  they  must  charge  are  a  heavy  tax  upon  the  student  when  he 
is  least  able  to  pay  and  has  most  ability  to  learn.  We  must  open 
up  a  new  era — an  era  of  public  provision  in  the  public  educa- 
tional system  for  the  School  of  the  Art  Industries.  We  need 
in  every  city  an  art-industrial  school  providing  six  years'  instruc- 
tion beyond  the  elementary  school — a  two  years'  preparatory  school 
and  a  two  to  four  years'  professional  training  beyond  that.  Such 
schools  will  specialize  naturally  in  the  industries  of  the  communi- 
ties that  erect  them.  They  will  have  equipment  at  least  as  good  as 
the  technical  high  schools  now  being  erected  in  all  cities  education- 
ally classed  as  progressive.  They  will  be  open  both  day  and  night. 

The  social  contribution  of  such  schools  will  be  a  great  gift  of 
life.  They  will  enable  the  young  workman  gifted  with  artistic 
power  to  realize  himself  and  follow  his  talent  to  his  vocation.  At 
present  we  waste  and  squander  the  wealth  of  artistic  taste  inherent 
in  our  people  and  instinctive  in  many  of  our  immigrants.  In  our 
present  system  one  generation  suffices  to  destroy  the  foreign-born 
craftsman  who  comes  among  us ;  his  children  revert  to  barbarians 


SCHOOLS   OF   THE  ART   INDUSTRIES  Q 

in  the  environment  of  the  East  Side.  He  is  driven  by  his  talent 
perhaps  to  carve  the  door  post  of  his  flat  and  make  it  beautiful, 
but  the  landlord  sues  him  for  damages ;  his  son  wins  the  praise  of 
the  elementary  teacher  in  the  handwork  classes  for  his  hammered 
brass  tray,  but  next  year  the  boy  is  found  driving  a  delivery  cart. 

There  is  a  sociological  gain  when  we  can  differentiate  indus- 
tries so  that  our  native-born  art  workers  can  find  training  and  a 
place.  Mr.  Frank  Duffy,  Secretary  of  the  Brotherhood  of  Carpen- 
ters and  Joiners,  in  a  recent  address,  l  put  our  situation  forcibly 
when  he  said : 

"Within  the  last  two  years  a  new  city  hall  was  built  in  Indian- 
apolis. American  mechanics  were  employed  until  it  came  time  to 
do  the  fine  work,  the  terrazza  and  mosaic  work,  the  carving  and 
sculpture  work,  the  fine  painting  and  the  like.  Then  mechanics 
were  brought  from  Italy  and  Germany  and  elsewhere  to  do  this 
work,  under  the  pretense  that  the  American  workmen  were  not 
qualified  to  do  the  work.  These  men  were  paid  from  $12  to  $15 
per  day  for  the  work  done,  while  the  American  mechanic  walked 
around  idle.  But  just  the  same,  our  mechanics  could  do  the  work. 
I  claim  that  we  have  a  better  race  of  people  than  any  nation  of  the 
earth.  The  intermingling  and  intermarrying  of  the  different  na- 
tionalities comprising  the  American  public  brings  forth  the  best 
specimens  of  the  human  race.  If  our  men  lead  in  athletics,  sports 
and  games  of  all  kinds,  I  cannot  understand  why  they  are  not  the 
best  mechanics  and  the  best  professional  men  on  the  face  of  God's 
earth.  It  is  said  opportunity  has  been  denied  them.  We  are  fight- 
ing for  opportunity.  It  is  coming ;  shall  we  grasp  it  ?" 

There  could  be,  as  you  see  by  this,  an  enormous  economic  gain 
from  art-industrial  schools.  We  export  raw  cotton  at  14  cents  a 
pound ;  we  import  fine  Swiss  muslins  at  $14  a  pound.2  They  pay 
for  our  raw  material  and  our  crude  labor ;  we  pay  for  their  taste 
and  their  trained  intelligence. 

A  London  Times  correspondent  3  reported  an  interesting  bit 


1  Teachers  College,  Technical  Education  Bulletin,  No.  15. 

2  "We  export  cotton  at  14  cents  a  pound  with  scarcely  any  labor  in 
it;  we  buy  it  back  from  the  thrifty  Swiss,  in  fine  handkerchiefs,  at  $40  a 
pound,  all  labor.     We  have  gone  about  as  far  as  we  can  in  exporting 
crude  materials  to  be  made  into  finished  products  by  the  better  edu- 
cated laborers  of  competing  countries.     Impending  changes  will  lower 
our  tariff  wall  and,  in  this  respect  also,  bring  us  nearer  the  level  of 
international    conditions." — Report    of    the    Committee    on    Industrial 
Education,  National  Association  of  Manufacturers,  1911. 

3  Quoted  in  Howard,  Industrial  Progress  of  Germany,  p.  67. 


10  TECHNICAL  EDUCATION  BULLETIN 

of  evidence  on  the  matter  of  the  economic  value  of  art  industries 
and  education : 

"A  German  manufacturer  was  showing  me  one  day  in  Elber- 
feld  (where  they  have,  by  the  way,  a  good  art-industrial  school) 
a  length  of  dress  material.  '  That  is  going  to  England  and  is 
made  of  English  material.  I  get  the  materials  from  England, 
manufacture  them,  and  send  them  back.  I  pay  carriage  both 
ways,  and  yet  I  can  sell  this  in  the  English  market.' 

"'How?' 

"  '  Well,  you  see,  this  is  a  nice  design.    There  is  brains  in  it.'  " 

You  teachers  of  art  have  done  something  to  build  up  the  stair- 
case of  art  interests  through  the  elementary  schools.  But  the  stair- 
case must  not  stop  at  the  eighth  grade.  It  must  not  land  the  apt 
child  facing  the  (for  him)  blank  wall  of  the  strictly  academic  high 
school  or  the  abyss  of  the  trades.  We  must  build  the  structure  on 
and  up.  And  that  means  the  Art-Industrial  School. 

You  teachers  of  the  crafts  have  done  something  to  get  manual 
training  accepted  as  an  element  in  education;  you  have  carried 
your  cause  even  so  far  as  to  have  manual  training  high  schools. 
But  you  know  and  I  know  that  the  school  world  looks  on  your 
work  only  as  an  appendage,  an  interesting  variation  in  educational 
experiment  and  practice,  but  not  the  trunk  and  stem  of  any  special- 
ized form  of  education.  And  for  a  good  percentage  of  our  boys 
and  girls  the  work  that  centres  in  art  and  the  art  crafts  ought  to  be 
the  trunk  and  stem  of  their  education,  not  merely  for  the  sake  of 
their  development  but  for  their  ultimate  vocation. 

Aren't  you  a  little  tired  of  being  the  hangers-on  of  the  aca- 
demic world  ?  You  are  doing,  I  grant  it  fully,  a  useful  and  valu- 
able work  in  your  participation  in  the  regular  work  of  the  high 
schools.  You  are  doing  a  valuable  work  in  the  contributing  to  the 
regular  work  of  the  elementary  school.  Through  these  schools 
you  are  getting  a  measure  of  art  interest  and  art  faculty  back  to  the 
people.  But  are  you  satisfied  with  this  subsidiary  work?  Do  you 
not  desire  a  form  of  school  where  what  you  stand  for  shall  be 
supreme?  The  academic  people  have  their  schools,  the  technical 
people  are  getting  theirs.  You  must  have  yours.  You  must  get 
free  into  the  freer  world  of  art.  For  artistic  effort  really  to  live 
and  be  fruitful,  it  must  have  its  own  soil,  its  own  environment,  its 
own  traditions.  That  means  the  Art-Industrial  School  in  the  edu- 
cational system  of  this  country  on  a  par  with  the  academic  high 
school  and  the  technical  high  school.  Effect  this,  and  we  may  hope 


SCHOOLS  OF  THE  ART  INDUSTRIES  II 

to  produce  freely,  everywhere,  in  this  generous,  fruitful  America, 
the  finest  flower  of  life,  "the  thing  of  beauty"  that  is  "a  joy  for- 
ever." 

The  recent  reorganization  of  Teachers  College  recognizes  a 
new  and  liberal  attitude  toward  the  arts  and  crafts.  We  have  seg- 
regated our  education  courses  as  a  School  of  Education ;  we  have 
segregated  our  art  and  technical  courses  in  a  School  of  Practical 
Arts.  In  various  lines  of  fine  and  applied  art,  the  boy  or  girl  com- 
ing to  us  from  the  high  school  can  follow  at  his  choice  a  major 
study ;  in  fine  arts,  or  applied  design,  or  house  decoration,  or  cos- 
tume design,  or  wood,  or  metal;  he  can  enrich  his  program  of 
studies  with  the  best  that  is  worth  while  to  him  in  English,  history, 
modern  languages,  economics  and  sociology;  he  will  receive  his 
Bachelor's  degree  in  as  good  standing  as  any  other  Bachelor  of  the 
University,  and,  what  is  more  important,  he  can  work  throughout 
his  four  years'  course  on  subjects  that  are  vital  to  his  talent  and 
directly  helpful  to  his  vocation  as  a  specialized  and  technically 
trained  artist  or  a  specialized  teacher  of  arts  and  crafts.  We  have 
put  this  thing  into  organized  being,  we  want  your  interest  and  your 
support,  so  that  an  institution  so  conceived  and  organized  shall 
not  perish.1 

1  Since  the  above  address  was  given  the  School  has  entered  on  its 
first  year  of  work  with  a  Freshman  class  of  150 — the  maximum  number 
for  whom  provision  was  made. 


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10m-12,'23 


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Make 
Syracuse 
MT.  AN. 


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